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The late and great Rob Reiner has won an Emmy, nine months after his death.

Reiner won the outstanding guest actor in a comedy series for “The Bear” at the Emmy Awards Night 2, prevailing over Michael J. Fox and Brett Goldstein (“Shrinking”), Hamish Linklater (“Widow’s Bay”), Christopher McDonald (“Hacks”) and Connor Storrie (“Saturday Night Live”). It is a posthumous honor for the director and actor who was killed alongside his wife, Michele Singer Reiner, in December — and the first posthumous Emmy for an on-camera performance since Raúl Julia won for “The Burning Season” in 1995.

Presenter Wendi McLendon-Covey accepted the Emmy on Reiner’s behalf to a minute-long standing ovation from the audience.

The win also sets a record and rewrites one that his own father, Carl Reiner, set. Rob Reiner had not won an Emmy since 1978, when he took his second consecutive supporting actor trophy for the classic comedy “All in the Family.” The 48-year gap between that win and this newest one shatters the mark for the longest span between acting Emmy wins — 37 years — held by Carl Reiner, who went from his 1958 win for “Caesar’s Hour” to a 1995 guest comedy Emmy for “Mad About You.” The elder Reiner set the record in guest comedy and his son now breaks it in the same category.

Reiner, who died at 78, has been remembered across the industry as the filmmaker behind classics such as “This Is Spinal Tap,” “The Princess Bride,” “When Harry Met Sally” and “A Few Good Men,” and was honored in the In Memoriam segment at the 2026 Oscars. His guest turn on FX’s “The Bear” stands as one of his final screen performances.

This year’s Emmy nominations were led by “The Pitt” with 25 nominations, followed by “Hacks,” “Widow’s Bay” and “Beef.” An edited version of the first two nights of the Emmys will air on FXX on Saturday, Sept. 12, at 8 p.m. ET, while the live 78th Emmys broadcast on NBC (and streamed on Peacock) from the Peacock Theater at L.A. Live takes place on Monday, Sept. 14, at 8 p.m. ET. Mariska Hargitay is host.Michael J. Fox Wins Guest Comedy.

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The late and great Rob Reiner has

Rob Reiner was awarded Outstanding Guest Actor in a Comedy Series for his performance as Albert in “The Bear” at the Creative Arts Emmy Awards Sunday.

This is the late actor’s third Emmy Award, but his first in nearly 50 years. Reiner’s first two wins were both for his role as Michael “Meathead” Stivic in “All in the Family.” He was awarded as the Outstanding Supporting Actor in a Comedy Series in 1974 and 1978.

The posthumous award comes months after he and his wife Michele Reiner were found dead with stabbing wounds in a double homicide this past December. Their son Nick Reiner has pleaded not guilty to the crimes, but he was charged with two counts of first-degree murder with special circumstances. Nick Reiner is set to appear in court next on Sept. 15.

Reiner appeared as a guest actor in the fourth season of “The Bear” as Albert Schnurr, a businessman who helps Ebraheim (Edwin Lee Gibson) formulate a new strategy for the titular restaurant’s beef sandwich window. His advice helped inpsire Ebra to pitch the idea to franchise the Beef, which became a key storyline of the final season.

Edwin Lee Gibson as Ebraheim, Rob Reiner as Albert in “The Bear” Season 4 (Credit: FX)

Though Reiner did not appear in the fifth and final season of “The Bear,” the FX series subtly paid tribute to the guest star in its finale which aired earlier this summer.

It is unclear whether Reiner would have reprised his role for Season 5 prior to his death, but Ebra calls Albert in the finale to share the news that he will actually franchise the Beef. At the end of the call, Ebra says “as you wish,” referencing Reiner’s iconic film “The Princess Bride.”

The Emmys will have another chance to recognize Reiner during next year’s awards season, as the actor appeared in HBO’s Larry David and Jeff Schaffer historical sketch series “Life, Larry and the Pursuit of Unhappiness” in a guest appearance as George Washington.

The 78th Primetime Emmy Awards will air Monday, Sept. 14 at 8 p.m. ET on NBC. Reiner will likely be honored in the In Memoriam segment of the televised program.

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Rob Reiner was awarded Outstanding Guest Actor

David Harbour has won the Emmy for Supporting Actor in a Limited or Anthology Series or Movie for his portrayal of Floyd Smernitch in HBO Max’s “DTF St. Louis.” This marks the actor’s first Emmy win.

As an executive producer on the series, he is also up for Outstanding Limited or Anthology Series for “DTF St. Louis,” which will be presented during next week’s Primetime Emmy Awards.

Despite the first-time win, Harbour is no stranger to the Emmys, having received Supporting Actor nominations in both 2017 and 2018 for his role as Jim Hopper in “Stranger Things.”

Harbour’s win came on night 2 of the Creative Arts Emmys.

During his speech on stage, Harbour said he was really moved by the recognition. He said, “I can’t believe that you’ve embraced our show so much this beautiful, vulnerable, weird show that I love so much.” He went on to say, “In terms of my fellow nominees, it was not a fair fight. I got to play Floyd Smernitch, who is an incredibly written character by a genius named named Steve Conrad, who, is a true original.” Harbour concluded his speech by thanking the team at HBO and said, “Everybody was nominated for my show. It’s unbelievable.”

Last month, Harbour spoke to Variety about the difference between then and now: “Back then it was pretty singular, focused on you as an actor,” he says of his 2017 nominations for “Stranger Things.” “Going into this, it’s the show. It’s every single actor. ‘Stranger Things’ wasn’t mine. I was jobbed in,” he said. “I feel so proud. It’s my baby.”

His fellow nominees included Jason Bateman (“DTF St. Louis”), Richard Gadd (“Half Man), Richard Jenkins (“DTF St. Louis), Charles Melton (“Beef”) and Nick Offerman (“Death by Lightning”).

“DTF St. Louis” debuted on HBO Max in March and was well received by audiences and critics alike. The show has racked up 13 Emmy nominations this season, including Limited or Anthology Series, Casting for a Limited or Anthology Series or Movie and Directing for a Limited or Anthology Series or Movie.

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David Harbour has won the Emmy for

“My actual personality is not very friendly, I’m afraid,” claims Korean actor Jeon Do-yeon. “Myself and actor Sul Kyung-gu, we can be a little bit brusque. We don’t really have the talent to make the set fun.”

As she says it, though, Jeon and co-star Cho Yeo-jeong are laughing — making the assertion rather harder to believe when it arrives in English from Korean via an interpreter. Throughout our conversation, in fact, the pair chuckles, nods along to each other’s answers, interjects sounds of assent. Enough for me to understand that their chemistry comes naturally, whatever Jeon’s protestations.

“In the film I play a character that chases [Jeon’s character] and it really suited me, almost to the point where I didn’t really need to try and act this role,” as Cho puts it. “I was almost like a sunflower, constantly facing and chasing actor Jeon.”

The actors needed every ounce of the sublime chemistry they forged to portray the magnetic but fatally flawed relationship at the heart of auteur Lee Chang-dong’s first film in eight years, “Possible Love,” which premiered Sunday at the Venice Film Festival. South Korea’s international feature submission for the 2027 Oscars, the Netflix film sees Ye-ji (Cho), a documentarian married to a wealthy businessman (Zo In-sung), cozy up to Mi-ok (Jeon), whose husband (Sul) has been seriously injured in a brutal crackdown on striking factory workers, in order to secure an interview with him — only for divisions of class and professional ambition to expose the fault lines in their relationship, and in turn their marriages.

“It seems like they want to be friends with each other, but then there seems to be a line that just cannot be crossed between them,” says Lee, also through an interpreter, of the actors’ accomplished double act, referring to a scene in which Ye-ji bristles at Mi-ok’s suggestion that her high-end clothes are out of place interviewing unemployed laborers. “[Jeon and Cho] knew of that and they went into shooting that scene knowing that it was quite challenging to express. There were, of course, some things that were up to the camera in bringing that about, but I think that was a scene where the two were able to express just how nuanced and quite strange the relationship can be.”

The film itself is just as slippery and multi-layered, down to Lee’s heady admixture of documentary and dramatic aesthetics. Inspired by real-life labor conflict in South Korea, “Possible Love” uses Ye-ji’s nonfiction study of laid-off workers as a window into the lives of ordinary people swept up in large-scale social change, against the backdrop of which the two women’s competing priorities are thrown into stark relief. Can a filmmaker who totes a $4,000 Lora Piana backpack, however well-intentioned, truly understand the plight of the working class? Is a subject eager to publicize a political struggle prepared for the risk that her personal privacy will be invaded in the process?

To choreograph the film within the film — so compelling that I almost missed seeing its conclusion when “Possible Love” shifts the focus to interpersonal fireworks in the third hour — Lee cast a real-life documentary director and cinematographer as Ye-ji’s crew, lending what Cho calls their “natural energy” to the movements of the camera. Cho herself prepared by consulting the late master of the form, Frederick Wiseman, who was unabashed about the tension between documentary filmaking’s often radical politics and the privilege required to turn it into a profession.

“[Wiseman] was posed the question by some students studying film and documentary: ‘How can I pursue this work in reality?’” she recalls. “And he replied with the immortal words, ‘Marry a rich man.’ And you know, I was preparing for the role of Ye-ji, so it was such an apt response for her situation.”

Jeon, left, and Cho in “Possible Love.”

(Joo Jae-bum/Netflix)

The potential for conflict bursts into the open at a seaside home that has been in Ye-ji’s husband’s family for years, where the group has decamped for a supposedly restorative holiday. Reminded of the setting by the location of our conversation — a set of green-curtained, pink-carpeted suites at the Hotel Excelsior, overlooking the northern shores of the Adriatic — I ask the actors what’s going through their characters’ minds when Mi-ok and Ye-ji’s promising connection ultimately severs.

Mi-ok “doesn’t really want to reveal to anyone else what’s going on in the family. … She only wants to show the good side that they are trying to live their best life and trying to improve and move forward with hopefulness,” Jeon says, citing an early scene in which Mi-ok asks the crew not to film her son’s awkward tae kwon do at a school field day. When the camera’s prying eye becomes more intrusive, though, she “feels a great sense of betrayal, that her family is being used and exploited.”

For Cho, who says Ye-ji is “constantly balancing the ethical dilemma” between documenting the truth and treating her subjects with care, the break was always inevitable, and no amount of Ye-ji’s remorse or guilt can repair the damage.

Against this microcosm of the class war Lee sets the emergence of artificial intelligence, which threatens to further destabilize labor across a range of industries — including his own. Although he’s uncertain if, when or how AI will “intrude” on the “entirely creative” filmmaking process, the “Poetry” and “Burning” director is already using it for everyday tasks.

“Before going to see the doctor, I like to ask AI all the symptoms that I have, ask what’s wrong with me. Or I would ask, you know, ‘What’s the weather like in Venice?’” he says. “AI gives us instant answers, and it goes even beyond that to where it gives you advice these days. And in that sense, AI has indeed really gotten deeply intertwined in my daily life.”

Similarly, Jeon is open to using AI for “trivial” matters, such as simultaneous translation from English to Korean and vice versa. But she admits to more “extreme thoughts” than Lee about the technology’s role in the future of screen acting.

“I’m going to be starring in [a Korean-language adaptation of] Anton Chekov’s “The Cherry Orchard” upcoming in New York. And I was wondering, actually, is the stage the last place that cannot be conquered by AI, and will not be replaced by AI?”

Perhaps. But the scene in “Possible Love” that best captures the finely honed chemistry of its female leads, in which Mi-ok and Ye-ji drunkenly bond over soju and Korean barbecue as their bemused husbands look on, seems to me beyond the capabilities of AI — it’s too warm, too meticulously rendered to be anything other than fully human, the sort of acting one hopes the Venice jury will remember when it hands out the Volpi Cup for best actress on Saturday.

“It is quite difficult technically and practically — it was a scene that we shot all night long,” Cho says. “But I remember shooting it with a lot of pleasure.”

No protest there.

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VENICE, Italy — “My actual personality is not


This past week, we learned that a Marvel movie started production without a finished script.

Yes, it’s THAT one. Hoo boy. This will be an awkward discussion in MarvelBlog News.

How Important Is a Script?

Joe Russo in Mumbai

Photo: Filmibeat

Lately, Marvel and the Russo Brothers appear to be working at cross purposes.

I recently mentioned a weird thing about Avengers: Doomsday.

Photo: Marvel

Marvel has spent the body of two years demonstrating contrition about its Disney+ content.

Kevin Feige and his team have acknowledged that some fans viewed those shows as homework.

Source: Marvel Studios

So, he said that Disney had taken that into consideration, which seemed like the end of it.

Then, the Russos immediately turned around and said the opposite about the re-release.

Photo: Marvel

They argued that Avengers: Endgame’s upcoming theatrical release IS homework.

My second point involves the perception that Marvel hasn’t had a plan lately.

The first decade of the MCU felt meticulously structured to build to Endgame.

Everything since then has felt like a hodgepodge to some. I don’t agree, but it’s a pervasive belief.

Source: Marvel Studios

Fans had hoped that the Russo Brothers would restore order with Avengers: Doomsday.

After all, they partially started the Endgame build with their masterpiece, Captain America: The Winter Soldier.

As far as structuring a multi-film plot goes, the Russos are as good as it gets.

And that’s why I simply cannot believe what the directing duo just said.

The Russos freely admitted to the Associated Press that Doomsday filmed without a finished script.

That’s such a staggering statement that I cannot believe I just typed the words.

Just…Why?

Source: Variety

Some directors have taken such secrets to their graves rather than admit them.

Meanwhile, the Russos almost sound like they’re bragging about the decision.

Joe Russo in Captain America - Civil War

Joe Russo in Captain America: Civil War. Photo: Marvel Studios

Yes, it was a decision, as the brothers wanted the supremely talented cast to impact the story.

AP notes that the Russos previously worked on Arrested Development and Community.

So, this is their style and a strategy that has paid huge dividends in the past.

Still, I’m not sure Disney wants this information readily available online.

Photo: Marvel

I can go ahead and tell you that some of the dismissive reviews will say, “You can tell there wasn’t a script.”

Then again, individual reactions don’t even matter compared to the consensus opinion.

So, this may prove to be much ado about nothing, especially if the film’s good.

Fans clearly still love The Avengers, as demonstrated by the metrics thus far.

Photo: Marvel

I previously discussed the ticket sales for Doomsday, which are outrageously good.

Now comes word that the Endgame re-release has done the impossible already.

Source: Marvel Studios

The trailer for this re-release has more than quadrupled (!) the record for views in 24 hours.

To be fair, a re-release of this scale is rare, which adds to the intrigue.

Source: Marvel Studios

Humorously, the Russo Brothers’ homework comments may have paid dividends, too.

I mean, 77 million views in a day would delight any producer, much less someone marketing a re-release.

Source: Marvel Studios

Endgame appears likely to be a factor at the box office later this month, which I hadn’t expected.

As for Doomsday, that’s not the only interesting development this week.

Source: Marvel Studios

Marvel has apparently performed some additional filming and for a wild reason.

New characters are still being added to the movie! Well, it’s familiar faces, but still.

Source: Marvel

I haven’t heard anything about Tom Holland yet, but someone else you know was just added.

Marvel Miscellany

Source: Marvel Studios

Once Doomsday enters theaters, all the buzz shifts to Avengers: Secret Wars.

On that front, I have some fascinating casting news involving a relative unknown.

A Quiet Place II

A Quiet Place II. Photo: IMDb

Noah Jupe has joined the cast, raising plenty of speculation about his role.

Jupe previously worked on A Quiet Place and A Quiet Place II, among other projects.

Secret Wars

Photo: Marvel

So, you’ve probably seen him as a child actor, which is also the family business.

His younger brother, Jacobi, recently played Hamnet Shakespeare in Hamnet.

Source: Marvel

Jupe, whose mother is accomplished British thespian Katy Cavanagh, drew attention for his stage work.

He most recently co-starred in a West End adaptation of Romeo and Juliet.

Photo: PEOPLE

I’m mentioning it more for his co-star in the play. It was Sadie Sink.

One of two things likely happened here. One is that Sink put in a good word for him.

Photo: BBC

The other possibility is that Marvel, while monitoring Sink, noticed Jupe.

Either way, my understanding is that he’ll play a vital role in Secret Wars.

Photo: Marvel

I mean that so much so that I’m wondering whether Marvel will confirm who he is.

The other big Marvel news this week is that Spider-Man: Brand New Day has broken more records.

Photo: Marvel

It’s officially the second film ever to earn $900 million at the domestic box office.

As I often point out, studios earn exponentially more from domestic revenue than international sales.

Photo: Marvel

So, Brand New Day appears all but certain to be THE most profitable film of 2026.

Doomsday cannot earn that title due to its massive budget.

Thanks for visiting MarvelBlog.com! Want to go to Disney? For a FREE quote on your next Disney vacation, please fill out the form below. One of the agents from MickeyTravels, an EarMarked By Disney – Authorized Travel Agency – Diamond Level, will be in touch soon!

Image: Marvel

 


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Game-Specific Betting Limits Across the Lobby

Distinct game categories implement architecturally different limit frameworks that mirror their underlying mathematics and operational costs. Slot games on the Betcity Casino platform usually offer the widest stake range, from £0.10 per spin on classic three-reel titles to £500 or more per spin on high-roller video slots. The maximum bet on a given slot is typically displayed in the game’s information panel, accessible via the “i” or menu button. Some slots feature a “max bet” shortcut button that instantly sets all paylines and coin values to their highest configuration, a convenience that also carries clear risk for the unwary.

Live dealer games operate under stricter ceilings because each table requires a dedicated dealer, camera crew, and studio space. Blackjack tables might cap at £2,500 per hand, while roulette can accommodate higher straight-up bets due to the game’s slower pace and the natural hedging that occurs when chips scatter across the layout. Game shows like Crazy Time or Monopoly Live, which blend RNG elements with live hosts, often feature lower maximums because the bonus rounds can multiply stakes by immense factors. Betcity Casino labels every live table with its minimum and maximum in the lobby view, so players can sort by stake level before joining.

Sports Betting Betting Limits Compared

The wagering part of Betcity Casino functions under an wholly separate limit philosophy shaped by market liquidity and bookmaker liability. Top Premier League football matches can handle five-figure wagers on the 1X2 market without moving the line, while a lesser league match or a specialized esports market could see limits drop to a few hundred pounds. The platform’s trading team changes limits dynamically based on bet volume, market movement, and the sharpness of the betting action. A player regularly outperforming the closing line will often find their limits reduced faster than a recreational punter placing accumulator bets.

In-play betting introduces additional complexity because the latency between a market-moving event and the suspension of betting creates a window where informed players can exploit stale prices. Betcity Casino employs automated suspension triggers that lock markets within milliseconds of a goal, red card, or try being scored. Maximum in-play stakes are generally lower than pre-match limits to cap exposure during these vulnerable moments. The cash-out feature, which allows players to settle a bet before the event concludes, also carries its own limit structure based on the current market value of the position and the operator’s hedging capacity.

Licence and Oversight Supervision of Stake Policies

Each betting limit applied on the Betcity Casino platform traces its authority directly to the licensing jurisdiction where the site operates. The operator holds a licence from a acknowledged European regulatory body, which sets mandatory standards regarding player fund segregation, responsible gambling tools, and anti-money laundering procedures. These regulations aren’t static; they develop in response to industry incidents and political pressure. The UK’s upcoming affordability check regime, for example, will require operators to conduct stricter financial health assessments when player losses exceed certain thresholds.

The licence also requires independent testing of the random number generators that drive every game’s outcome, guaranteeing that limits are applied to genuinely random results rather than manipulated sequences designed to exploit player behaviour. Testing laboratories like eCOGRA or iTech Labs confirm that the games perform within statistical tolerance of their advertised RTP. Players can verify these certifications through clickable seals usually displayed in the website footer. The combination of regulatory oversight and third-party auditing creates a system where limits function as they’re supposed to, without hidden manipulations.

Practical Strategies for Managing Betting Limits

Treating betting limits as fixed obstacles guarantees frustration; viewing them as adjustable factors creates strategic possibilities. Bankroll management commences with matching session budget to the minimum bet of the chosen game, making sure at least 100 to 200 betting units are available to withstand normal variance. A player with £100 should steer clear of tables with £5 minimums in favour of £1 or £0.50 stakes, keeping enough runway to ride out losing streaks without giving up prematurely. The platform’s game filters make this alignment process straightforward.

Players targeting progressive jackpots must review the specific rules for each title before investing funds. Some progressives demand max bet to be eligible for the top prize; others pay out randomly on any stake. Betcity Casino’s game information panels include this detail, and support staff can clarify any ambiguities. For table game enthusiasts, the optimal approach entails starting at lower-stakes tables to get accustomed and gauge the session’s flow before shifting to higher limits. This graduated strategy avoids the jarring experience of dropping a significant portion of the bankroll in the first few hands of an unfavourable shoe.

Using Limit Tools for Controlled Play

The same limit infrastructure that can appear restrictive also serves as a powerful external discipline mechanism. Configuring a deposit cap that corresponds with a monthly entertainment budget, then setting a loss limit at 50% of that figure, establishes a hard stop that no amount of in-session rationalisation can overcome. Session time limits avoid the fatigue-induced poor decisions that often turn a small loss into a large one. These tools are most effective when configured during a calm, rational moment before any gambling session begins, rather than in the heat of play.

Withdrawal strategy also benefits from understanding limit structures. Players who score a significant win should contemplate splitting the cash-out into multiple requests that lie within the standard processing limits rather than triggering enhanced verification by demanding the entire sum at once. Holding account verification documents current and approved eliminates the most common source of withdrawal delays. A fully verified account with a pending withdrawal within standard limits is the smoothest path from win to bank account.

At some point, every online casino player

Netflix‘s The Beast in Me has spent the last few months proving that a nosy writer and a possibly-murderous real estate mogul make for great neighbors — at least from a ratings perspective. For eight episodes, Claire Danes and Matthew Rhys circle each other like two people who both suspect the other one killed somebody. And, well, one of them might have. The show picked up Emmy nominations, including a nod for Outstanding Limited or Anthology Series, and it has stuck around on Netflix’s most-watched lists since it dropped last November.

That said, a cat-and-mouse thriller staring two Emmy-caliber actors is not exactly a new genre, and some of the shows that did it first did a way better job than The Beast in Me. Crime thrillers have been the most consistently beloved genre on television for the last few decades, and a handful of them turned dread, moral rot, and small-town secrets into impeccable writing on streaming networks like Netflix, Prime Video, and Hulu. Here are 10 that I’d rewatch over The Beast in Me any day of the week.

Why You Should Trust Me: I’ve spent nearly four years covering movies and TV shows at MovieWeb, with crime dramas and thrillers consistently making up a major part of what I watch and write about. I’ve also spent enough time with the genre to know that a good crime thriller needs more than a shocking murder and a suspicious person standing in a dimly lit room, and the ones on this list come with great writing, performances, atmosphere, and mystery.

‘Mindhunter’ (2017–2019)

The Conversations Are the Scariest Part

Watch This If: Mindhunter proves that you don’t need a global conspiracy or a car chase every 15 minutes to make a crime thriller feel unbearably tense. It takes a premise that sounds dry on paper — FBI agents interviewing incarcerated killers to build the field of criminal profiling — and turns it into some of the most anxiety-inducing TV ever made. David Fincher directs several episodes himself, and his fingerprints are all over the static, patient shots of a prison interview room. Jonathan Groff, Holt McCallany, and Anna Torv make an excellent central trio for two seasons, giving the show genuine character arcs instead of just a rotating cast of true-crime cameos.

Skip This If: You need forward momentum and a clear case to solve. Mindhunter cares more about psychology than plot, and entire episodes go by with almost no traditional “crime-of-the-week” structure. Also, Netflix canceled it after two seasons, and despite years of fan campaigns, nothing suggests a third season is coming. Mindhunter is an unfinished masterpiece, but a masterpiece nonetheless.

‘Fargo’ (2014–2023)

Crime Gets Weird in the Midwest

Watch This If: I know Fargo has technically been around since 2014, but if you’re jumping in specifically because you loved The Beast in Me, I would start with Season 2 and work your way forward. Each season tells its own story, which is one of the best things about Noah Hawley’s anthology series. You can get murder, organized crime, corrupt law enforcement, deeply strange people making increasingly terrible decisions, and somehow still catch yourself laughing at least once per episode. Season 2’s Kansas City mob war and Season 4’s Kansas City crime family saga both rank among the show’s best work, and Jon Hamm’s turn as a small-town sheriff with something to hide in Season 5 gives tough competition to his turn as Don Draper in Mad Men.

Skip This If: You like a franchise you can binge from start to finish without gaps. FX hasn’t confirmed a sixth season yet, and Hawley has openly said the timeline is still being worked out around his other projects, so don’t expect new episodes anytime soon. Each season also demands a hard reset, since you’re meeting an entirely new cast every time.

‘The Night Of’ (2016)

Riz Ahmed in The Night Of Craig Blankenhorn/©HBO/Courtesy Everett Collection

Watch This If: In The Night Of, Riz Ahmed stars as Naz, a college student whose life changes overnight after he wakes up beside a murdered woman, and he has no clear memory of what happened. John Turturro plays his attorney, John Stone, and together, they anchor a series that becomes less interested in easy answers and more interested in the terrifying way the criminal justice starts moving once someone has been accused of a crime. The miniseries wastes no time. Across eight episodes, it examines the police, prisons, lawyers, families, and media attention surrounding one case without ever feeling like it’s ticking boxes. Ahmed is phenomenal, and Turturro is both hilarious and heartbreaking.

Skip This If: You want a tidy whodunit with a satisfying ending. The Night Of explores the mechanics of the system rather than the mystery itself, and the final answer to “who actually did it” matters less than what the process does to Naz along the way.

‘Mare of Easttown’ (2021)

Kate Winslet’s Career-Best Turn in a Pennsylvania Murder Mystery

Watch This If: Small towns make for excellent crime thrillers because everyone knows everyone, everyone has an opinion, and somebody always knows something they shouldn’t. Mare of Easttown stars Kate Winslet as Mare Sheehan, a detective in a close-knit Pennsylvania community who investigates the murder of a teenage girl while dealing with a whole pile of personal problems of her own. She won an Emmy for the role, and she earns every second of it playing a detective drowning in grief, addiction in the family, and a case that keeps implicating the people she loves. The HBO miniseries also stars Evan Peters, Julianne Nicholson, Jean Smart, Angourie Rice, and Guy Pearce.

Skip This If: Somebody on the internet has already spoiled the ending for you, which is a possibility because the show’s twist was one of the most discussed reveals of 2021. It is also a single, self-contained season with no continuation planned, so if you’re looking for a long-term binge with multiple seasons, Mare of Easttown is not it.

‘Happy Valley’ (2014–2023)

Sarah Lancashire Is The Whole Reason To Watch

Watch This If: There are several crime shows about detectives who seem to have their lives together. Catherine Cawood is not one of them. Sarah Lancashire stars as the West Yorkshire police sergeant, a fiercely determined officer whose professional life keeps colliding with an enormous amount of personal baggage. Across three seasons, Happy Valley builds its story around crime, drugs, family, grief, and Catherine’s long-running connection to Tommy Lee Royce, the violent criminal who has caused her family immeasurable pain. Lancashire is extraordinary here. Catherine can be funny, furious, exhausted, compassionate, terrifying, and completely fed up within the same episode, and it is truly fascinating to watch.

Skip This If: You’re not into British accents or British detective dramas as a whole. Happy Valley leans hard into authentic Yorkshire dialect and local texture. The show also has long real-world gaps between seasons, so if you started it years ago and completely forgot about it until you stumbled onto this list, you might need a recap before diving into Season 3.

‘Line of Duty’ (2012–2021)

The Anti-Corruption Thriller Where Every Cop Is Suspicious

Vicky McClure and Kelly MacDonald in 'Line of Duty' (2012)
Vicky McClure and Kelly MacDonald in ‘Line of Duty’ (2012)
BBC Two

Watch This If: You know a police department has a serious problem when it needs a dedicated unit just to investigate its own officers. That’s the setup for Line of Duty, Jed Mercurio’s hugely addictive British crime thriller about AC-12, an anti-corruption unit investigating suspected “bent coppers” inside the fictional Central Police Force. Martin Compston, Vicky McClure, and Adrian Dunbar form the show’s core trio, with a rotating collection of major guest stars turning up as officers who may or may not be complicit in all of it. The interrogation scenes are the real hook. They run 20 minutes at a stretch and still feel shorter, and they often drop one tiny piece of information into a conversation and make you rethink everything you just watched.

Skip This If: Police jargon and rapid-fire British procedural terminology without subtitles can be exhausting for you. Line of Duty throws you into the deep end of specialized vocabulary from Episode 1.

‘Ozark’ (2017–2022)

Money Laundering Has Never Looked More Stressful

Watch This If: There are bad family vacations, and then there’s the Byrde family’s decision to relocate to the Ozarks because Marty needs to launder money for a Mexican drug cartel. I’m going to go ahead and say the latter has slightly more complicated travel arrangements. You’re supposed to spend four seasons watching the Byrdes become more dangerous and more ruthless than the people they were running from. Jason Bateman and Laura Linney anchor the whole thing, but Julia Garner’s Ruth Langmore steals every scene she’s in, and she rightfully won two Emmys for it. Ozark ended in 2022, but it remains one of the strongest crime thrillers of the 21st century.

Skip This If: You need your protagonists to be likable and make sensible choices. By its final season, everyone on Ozark has done something irredeemable, and the show has zero interest in redeeming them.

‘Task’ (2025)

Mark Ruffalo Has a Very Bad Week

Watch This If: Brad Ingelsby’s Task arrived in 2025 with an extremely good setup. Mark Ruffalo plays FBI agent Tom Brandis, who leads a task force investigating a series of violent home invasions in Philadelphia. The catch is that the man behind the crimes isn’t some criminal mastermind. He’s a family man driven to desperate choices, played by Tom Pelphrey. Ingelsby’s Mare of Easttown is a modern classic, but Task is a whole different beast. It’s not just catching a criminal, but also spending time with the people on both sides of the investigation and asking how grief, desperation, faith, and circumstance can push people toward decisions they never imagined making. HBO renewed it for Season 2, with Édgar Ramírez, Mahershala Ali, Adam Nagaitis, and Aminah Nieves among the new additions.

Skip This If: You want a tidy little mystery that wraps everything up and sends you to bed feeling emotionally refreshed. Task has other plans. The pacing is also deliberate in a very specific Ingelsby way, so it’s slower than expected.

‘We Own This City’ (2022)

The Baltimore Police Corruption Story From ‘The Wire’s Creators

Jon Bernthal in 'We Own This City' (2022) HBO

Watch This If: We Own This City reunites David Simon and George Pelecanos, the team behind The Wire, for a six-episode dive into the real-life corruption scandal that took down Baltimore’s Gun Trace Task Force. Jon Bernthal stars as Sergeant Wayne Jenkins, bringing enough swagger to the role that it’s almost seductive to watch his crime unfold. Which isn’t wrong. The show wants you to understand how a task force built to fight crime turned into one of the most corrupt units in American policing history, and it does a fantastic job. It is based on real events and real court records, and that grounding gives it a lot of emotional weight.

Skip This If: You want escapism. This one looks you directly in the eye and reminds you that the worst crime stories don’t need much embellishment. Structure-wise, it jumps across multiple perspectives, which takes an episode or two to fully click into place.

‘Black Bird’ (2022)

Taron Egerton and Paul Walter Hauser’s Prison Cat-and-Mouse Game

Watch This If: Jimmy Keene has a strange yet appealing proposition in front of him. He’s serving a 10-year prison sentence when authorities offer him a deal: transfer to a maximum-security prison for the criminally insane, get close to suspected serial killer Larry Hall, and try to make him confess. That’s the nightmarish premise of Black Bird. Taron Egerton plays Jimmy, while Paul Walter Hauser plays Hall. Hauser is genuinely unsettling in the role, playing a real convicted killer with an unnervingly soft, almost childlike voice that makes every scene with him feel loaded with tension and dread. He is awkward, strange, difficult to read, and sometimes very ordinary. That contrast keeps Jimmy (and us) guessing about what he’s dealing with. If you enjoyed The Beast in Me because of the two central performances, Black Bird takes that dynamic into darker territory.

Skip This If: True crime hits too close to home for you. This one draws directly from a real case and doesn’t shy away from the details of its killer’s actual crimes.

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Netflix's The Beast in Me has spent

Konami held its latest Press Start on Thursday, featuring new announcements and updates on its upcoming games.

Notably, the live stream featured updates on Silent Hill Townfall and Castlevania: Belmont’s Curse, as well as a roster of new games, including RPGs Rhapsody in Scarlet and Rev. Noir, and game-creation platform Wai Wai World Craft.

You can watch the entire 30-minute showcase on YouTube, or scroll on for a summary of every announcement.

A PlayStation State of Play live stream also took place on Thursday, and you can read our summary of all the news from the show.


Silent Hill Townfall’s cast speak

The stream opened with a new look at Silent Hill Townall, with series producer Motoi Okamoto sharing messages from the game’s cast members, including Jovan Adepo (Three Body Problem), Terry O’Quinn (Lost), and Kezia Burrows (Observation).


Project Zircon, a deckbuilder roguelike

Roguelike deckbuilding game Project Zircon was re-revealed, several years after it was first announced as a blockchain game.

“As the ruler of a nation, recruit powerful Character Cards and construct Facilities to expand and strengthen your nation,” Konami says. “Build a new strategy every run to save the world from the resurrected Calamity Dragon of the Abyss.”


Rev. Noir, Konami’s new RPG

Rev. Noir is a new RPG coming to Xbox, PS5, and PC in 2027.

“Drawn together by chance, Asch and Finé set out to stop the Lightfall, a calamity that brings death to all it touches,” reads a synopsis for the game. “As their journey to save the world unfolds, they uncover a fate neither expected…”


Rhapsody in Scarlet, a 1920s magic mystery

Another new game, Rhapsody in Scarlet is set in 1920s New York City and follows young jazz singer Ellie who finds herself caught in an unexpected incident.

“The encounter leads her to Ilya, leader of the Seekers, an elite organization of magi,” Konami says. “Though the free-spirited Ellie and the serious-minded Ilya frequently clash, they gradually forge a strong bond as they investigate the schemes of a mysterious mafia organization.

“Their investigation draws them ever deeper into the city’s secrets, revealing a fateful battle that threatens the very balance of the world.An epic tale unfolds where beasts, magick, friendship, and destiny intertwine.”


New look at Castlevania: Belmont’s Curse

The latest Castlevania: Belmont’s Curse trailer features new weapons and abilities set to feature in Konami’s next 2D game.

VGC wrote in a recent Castlevania hands-on: “If ever there was a series that has earned the right to deliver a game that simply offers a familiar but solid Metroidvania adventure, it’s the one that co-coined the term in the first place. And so far, based on the first hour at least, familiar but solid absolutely sums it up.”


Wai Wai World Craft is a new UGC platform

Konami debuted a concept trailer for Wai Wai World Craft, a UGC platform “that brings Create, Play, and Connect together in one place”.

“Create your own original games more easily and intuitively,” it says. “Play a wide variety of games created by Game Creators around the world. As people create, play, and connect through games, the community continues to grow. Anyone can discover and enjoy the joy of becoming a Game Creator.”